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Hunter?

Noooo! It’s just… that is insane! And I can’t, I donnot have the vocabulary to describe it. The relentless breaks and cleanness? So, whenever I daubt (or if indeed if I ever am in daubt…). There so many years that have passed now sinse the first time… and yet the feeling is exactly the same thing.

That is the + 20 repeat that can eventually end a relationship…

– Do you realise how many times you’ve played this (part)?
– Yes, I do. More or less (the music listened to is looped after all?)?
– Again? Really?
– Yes, again… really.

Again!

Tune! I’ve been wondering for a long time. What will happen? Well more than 30 years, closer to 40 actually has passed and nothing about the passion has changed.

My feelings or my musical interest hasn’t changed at all – on the contrary.

You just want some tranquillity, in your own home. You are in control. You have your record collection. And it is in order. Until… one track or in an even worse scenario two unknown tracks. And you immediately know a number of things.

Is it unreleased? Take an ever longer ride on your bike. Who might be playing this unknown track? DJ Storm? Take your bike apart and reassemble it.

This is Culture. Digital & Outrage? – Why? – You need to stop playing this song. Don’t play this song again. It is called: ‘Kingdom (of Zion)’? The beats.. double and rim-shot (a talented drummer can play it), the bassline is magical. Can you stop? This is the wall. Push the bass. And no, will never, ever stop. Ever.

I can’t find it. It was/has not been released? That is the worst case scenario. + 25 yrs in service.

808 tweaked, bass culture next gen… decades ago I honestly thought it was just theory… and now it is reality? My teenage ideas are more real than I could ever imagine?

Now, I have experiences, memories and references that are known to me? Have I projected them? Am I now being presented with… yet, that is what you wanted? Right?

No, that is not what I wanted! It is much to complicated, the bass, the bass culture is a complication. And we do not mess/joke/fiddle about with it; the bass culture. Because either you know the army or you don’t… no matter, the army is always present.

And now the little one knows that fact, Jr knows for shou’. Push, push the bass little one. Your friends are what counts.

Take the lead and then push, push the bass… forward, if you will.He will push the tempest by…

By pure coincident there is/was a really nice cafe named “?” situated in Belgrade a long time ago. Before the war. I think I would find my way there if I ever would revisit the White City (Beograd*) and/or the establishment.

Finally: have you blown a fuse?

That could very well be the case; I just cannot seem to be able to either win or give up. Never ever, ever. Leave me alone, please.

* Most of the buildings are clad in white and used to be just that, white that is and as far as I know Beograd litterally means White City.

As it has been said many a times before there’s just no way past Richard D. James. It is just not possible. All are just simply standing on the giant’s musical shoulders…

– Who? Bring everyone!

Someone told me, a long time ago that there are actually very few truly unique ideas. And that it is not uncommon that the same idea is formed at any given moment. And that the reason for that has to do with context and what influences there are and the creators in this World will inevitably use what ever is available and relevant to them. Yet, the outcome will be similar and in some cases exactly the same… I think she was right.

What about AFX? You can never escape Richard D James, ever… Come To Daddy which includes the: Come To Daddy, Pappy Mix, Come To Daddy, Little Lord Faulteroy Mix, To Cure A Weakling Child, Contour Regard and of course the lovely Come To Daddy, Mummy Mix.

Some pretty serious breaks stuff, right there. The year would be 1997… and that’s just incredible!

Even more so, that I acquired it, listened and still am listening to it. They’re just so harsh and ruthless/reckless/neck-breaking beats (in all honesty the intro is a lot harder than I remember). The man is obviously a musical genius (it feels awkward pointing that fact out, but I guess it is an unavoidable part of becoming or being an elder/Ent).

You can’t get past Richard! No one can! Miles or parsecs ahead. Not even the all-mighty æ? No, in my humble opinion, I mean no one, nobody gets past Richard D James.

Is this really the work/art of an individual human? Spanning over son many decades? There are too many similarities and references to my mind. Either it is actually the work of one man or…

I mean what about Pilote and Certificate 18? Which by the way housed: Polar, Klute, and DJ Teebee.

However, the correlation is unclear. Is it a one man’s work or not? What correlation or possible collaboration is there between: Aphex Twin, Autechre (æ), Spooky and Icarus? It is an unknown, but it can be readily heard (after litterelly decades of listening intensly) and to my mind it can’t be a coincidence… UK. I strongly suspect a collective rather than an individual.

– Have you ever heard Girl/Boy Song? If not please do and when you have I leave you with these thoughts:

It was released in 1996, if you add two years between production and release then you end up around 94′. How is that even possible?

On what equipment was it produced, recorded and mastered?

What is sampled and what is live?

How could something like Girl/Boy Song** ever have been produced (technically) in 1996?

It is even more upsetting to me today?

– Do you understand what I’m talking about? I’m saying that it is simply not a possible endeavour at the time! Not technically feasible, yet… I don’t understand how it was made and it troubles me deeply. It is just… I want to know, no I need to know how this music was made some odd 30 years ago… absolute supremacy.

* The included poster is in A3 format, it is folded and hence the crease.
** The double album Ambient Works Volume II is from 1994.

What? I am talking about Ludvig Elblaus’s Trials album**. It is one of my favourites and in contains tracks that are out of this world. Beautiful and with a complexity that is unusual; among the many that I own “Trials” is unique and it happens to include; SoSo Perspective.

– Well are not all precisely that?
– That is true, however there are other factors. There’s time and space and context. Listening to it now? The only conclusion that is possible is that it was to good and not from the UK in 2010.

It is a brutally well constructed album and to my mind it is literally timeless. You can play it however you want, that would be at Summerburst or on your silly phone…

It just don’t get any better. Sublime album!

* “- There could be details that I would like to change, but if I do then they will become my songs. In my mind this release does not need any mastering at all and I’m pressed for time anyhow. Simply put there’s just nothing to be professionally done with this. It would just be a complete waste of my time.”

** Is that not your own label? Never mind, but indeed it was (together with Jaques Lueder). Inveterately I messed up the CMYK on the artwork/label cover. It was a disappointment, however it was a long time ago, a decade ago to be more precise.

3,162277‬2? is equal to 9,999995824729‬ (using 12 decimals) and that is close enough to 10 according to me.

The Happy (Purple) EP may not be unique sound wise; the guitar, bass, saxophone and echoes have been heard before and they are not revolutionary in that sense (I’m thinking of labels like; City Centre Offices or Morr Music).

Yet, that’s absolutely not true at all! Because all artistic ventures are by definition just that, unique. The thing that stand out in this release: the somewhat rough production, vocals and as always the nowadays numerous references.

Being a scholar? I do need to make a special comment regarding the fifth song on the Happy (Purple) EP: Positiv (Filosofi)*. I mean, having studied the subject?

I suspect that the reference is an other all together than those concerning the problems with verifiability . In any event it’s a great track (with some audible Cornelis influences). And that goes for the rest of the album.

It is contemporary singer-song writer electronically enhanced endeavour. It is definitely listenable, especially Stay and it’s an EP with a very personal touch.

* “…the radical positivist line that science is the basis of knowledge; that it is empirical; and that non-empirical enterprises are either logic or nonsense.”